About & Our Criteria

Image result for iu singing

Vocal Analyses

THE TEAM PAGE HERE

FUTURE ANALYSES HERE

This blog was made with the intent to share knowledge and share vocal analyses from different vocalists in K-pop. Nobody in the blog is a hater or an anti-fan. The analyses give positive and negative points and are all constructive criticism, nobody is telling you to hate or not listen to your favorite idol vocalist. We’re only letting you know what their vocal skill based on what vocal technique and music theory is from a musically professional standpoint. If you’re confused about rankings, categories and such, click the about and our criteria page. This post will also include the information existing in that page if you’re unwilling to click through just click read more. Otherwise click About & Our Criteria and most questions should be answered. We try to back up all our points with substantial evidence from the singers’ performances, we thoroughly listen to their performances from past and present. No one in this blog claims to be an expert, we’re all learning and everyday we learn more and more, just as we respect your opinions, please respect ours, which were influenced by the knowledge we have and the way we’ve been taught. Thank you.

cropped-header1.png

This blog is dedicated to compile vocal analyses done by our contributors in order to satisfy everyone’s curiosity regarding their idols’ vocal. The analysis will be based solely on VOCAL TECHNIQUE, not tone, timbre, emotions, stage presence, etc.

The analysis might change according to their latest performance.

If you would like your idol to be analyzed feel free to drop the question in the comment box. If you feel that the analysis is not accurate, you could suggest a video or recording and give us the reasoning behind your disagreement. We will gladly alter the vocal analysis page of the respective idol if your reasoning behind it is proven.

Comments will be moderated. Constructive discussion are welcome. Bashful and hateful comments will be deleted. Every idol mentioned here are talented in their own way. Even so, we are focusing solely on their vocal capabilities and we try our best to give an objective analysis regarding the matters.

So far, we will use this system as our judging criteria. We will elaborate more once it’s established. It goes from best to worst.

TERMINOLOGY

Tones/Semitones/Notes/Key
A key of a song means within the key signature of the song. There are 12 notes in total, C C#/Db D D#/Eb E F F#/Gb G G#/Ab A A#/Bb B and back to C, completing one full octave. A tone is from a note up two semitones, so the distance between C and C#/Db is a semitone, whereas C and D are a full note apart. A major Key will follow a tone tone semitone tone tone tone semitone pattern, so C major is C D E F G A B C. Although there are no sharps or flats between E and F or B and C, they’re a semitone apart. # stands for sharp and b stands for flat and whether or not you name a note sharp or flat depends on the key, i.e. C# major and Db major are the same key with different names, C# D# E# F# G# A# B# C# and Db Eb F Gb Ab Bb C Db, on a piano the same notes are played, just with different names.

Intonation
Being able to stay in pitch and in key. Good intonation means not going sharp, flat or singing a note that isn’t within the chord progression and/or key of the song. Going sharp means slightly above the pitch but not really hitting a note above, so like a note in between C and C#, and flat means a note that’s slightly below pitch, so a note in between C and B, for example.

Larynx Position/High Larynx/Low Larynx/Neutral Larynx
The larynx is the part of the body where the vocal cords are located. The vocal cords are very small and are divided into two parts that vibrate against one another in order to create sound. The speed of the vibration generally determines the pitch someone sings in. Much like tuning a guitar, the more stretched the vocal cords are and thinner they become, the higher the pitch and the thicker they are, the lower the pitch is. In order for a note to be hit, one should have a relaxed opened sound in the larynx, without any restrictions from the throat muscles. If the larynx is pushed down, it creates a froggy and fake “soulful” tone, if it’s pulled up, it creates a thinner, squeezed and tight quality to the voice. The natural state of the larynx is being neutral when it’s relaxed, if it’s forced either up or down, that means the muscles in the throat are creating tension and the larynx is trying to reposition itself in an uncomfortable and unnatural position to hit notes that are not within the individual’s supported range. 

Tonality/Tone Production
The way tone and sound is produced through good support. The voice comes out stable, without any laryngeal restriction nor tension, tone is clean and has the true sound of the individual’s voice type, without an uncentered pitch, excessive breathiness, nasality and tension.

Vibrato
The shift between two notes rapidly within, normally, a sustained note. The difference between the notes is usually less than a semitone. A forced throaty vibrato is usually produced artificially by using the throat, instead of the natural vibrato that comes out once the vocal cords are relaxed with good breath support.

Stability
The stability of the voice, meaning it’s not off pitch and it doesn’t sound wobbly, shaky and unsupported.

Registers
Chest voice, lowest range. Head voice, highest range. Mixed voice, the belting area of the voice.

Support
How the individual vocalist uses their correct breathing technique with the diaphragm to better support, project and hold their voice together.

Placement vs Resonance vs Projection
Resonance is the optimum sound a vocalist should focus on when singing. It is a full, clean and round sound that won’t sound thin, constricted or small. A vocalist who’s resonant will use different types of placements, i.e. their voice will be placed either in their chest, head or mask (cheekbones area, not nose) to project their voice, in each individual register. A vocalist may be able to be resonant in their mixed voice by normally placing their voice in their mask with chest resonance, or as they go higher, with head resonance. A resonant sound is always going to be a projected sound, now resonance doesn’t mean loud, because a loud sound may still be pushed and strained. You may project but still have tension, but in true resonance tension should not be present. Resonance is produced when the vocalist is able to support their voice. In other words, they have developed vocal cords that are able to connect fully in a healthy manner, without breathiness coming between them nor too much constriction, against the right amount of air pressure. Then the supported sound is enhanced with the proper placement of sound, while keeping the soft palate lifted, the larynx position not high, the swallowing muscles, jaw, tongue And throat relaxed and the jaw dropped so as to amplify the sound of the voice. The combination of an open throat, support, relaxed singing and proper placement is what creates healthy resonance in singing. 

Vocal Range vs Supported Range vs Tessitura
Vocal range means the individual’s lowest singable note to the individual’s highest singable note.  A tessitura will depend on the individual’s voice type and where their voice sits most comfortably, shines the most and could project the best. A supported range includes notes outside the tessitura where the individual’s voice type may not be naturally inclined to project well in, however so due to the vocalist’s own ability, they’re able to still maintain tone production, support, projection and stability. e.g In classical music, sopranos’ tessituras are something in between A3/C4 to  A5/C6, however in contemporary music a soprano singing as high as C6 is very uncommon and unnecessary; a contemporary soprano, for an example Luna, is able to keep resonance consistently up until Eb5, which is almost ideal for a soprano who should be able to carry that resonance up until A5 without a problem. However so she’s also able to sing down to G3 with correct support, which although is outside her voice type’s natural tessitura, she’s still able to keep support and projection down there.

Musicianship/Musicality
Musicianship is the act of changing any song given to you and making it your own, usually on the spot. This includes melodic changes, rhythmic changes and added embellishments. Musicality is the act of interpreting music correctly according to each individual genre of music, by adding the correct use of vocal effects (e.g. raspiness, breathiness, growls, vocal runs, vibrato) and playing with the song musically by adding dynamics (e.g. singing softly, loudly, powerfully on the right moments of each song).

Passaggi/Vocal Bridges
A passaggio or a vocal bridge is an area of the voice where one’s voices transition naturally from one to the other in the modal register. Usually for males, the distance between the first passaggio, from chest voice to mixed voice, and the second passaggio, from mixed voice to head voice, is only about a 4th apart, whereas for females it’s about an octave apart. Passaggi are important for one to be able to tell what someone’s voice type is. A register break or the highest note you can sing in your chest/mixed voice before transitioning into head voice is NOT your first passaggio. The first passaggio is a note in your range where your voice naturally feels a switch of muscle coordination in your vocal cords. That doesn’t mean you can’t bring a chest dominant or balanced mixed voice above your first or even second passaggio. Lyric tenors usually have their passaggi around D4/Eb4 and G4/Ab4, whereas lyric baritones have their passaggi at B3 and E4. Lyric sopranos are usually at F4/F#4 and F5/F#5.

Legato/Staccato
A musical phrase usually will last a couple of bars. During a phrase, the melody may be played/sung smoothly connected without every note sounding chopped up, whereas staccato means emphasizing every single note separately with minor less than a second breaks in between every note. Legato is the most basic form of singing through correct breath control and support.

Agility
Vocal agility is an embellishment and it means, being able to sing many notes accurately and quickly, by separating each individual note while still being able to connect them within one sung vowel. Those are usually called melismas or vocal runs.

CRITERIA

Excellent Vocalist

  • All three registers are developed
  • Supported as close as possible from their highest to lowest extremities
  • Range wise, supported range without head voice for sopranos falls somewhere within C3 ~ E3 (or lower) and G5 (or higher)
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within Bb2 ~ D3 (or lower) and F5 (or higher)
  • Range wise, supported range without head voice for tenors falls somewhere within F#2 ~ A2 (or lower) and C5/C#5 (or higher)
  • Range wise, supported range without head voice for baritones falls somewhere within D2 ~ F#2 (or lower) and A4/Bb4 (or higher)
  • Within their Voice Type’s tessitura they are consistently resonant
  • Complete support in the middle register and lower register
  • For females head voice must be completely resonant at will; for males head voice must be completely supported
  • Connection in the voice with no noticeable breaks when transitions are being made
  • Agility is present and pitch is controlled with good separation between individual note, potentially very complex runs are done from the bottom to the top of their ranges
  • Musicianship the ability to change a song and make it their own and Musicality having complete control over the voice in any given genre
  • Almost perfect intonation
  • Tonality is almost never lost

Great 

  • Developed registers, but one register may be lacking in development
  • Optimal resonance is achieved on a regular basis
  • Range wise, supported range without head voice for sopranos falls somewhere within F3/F#3 and F#5/G5
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within Eb3/E3 and E5
  • Range wise, supported range without head voice for tenors falls somewhere within A2/Bb2 and B4/C5
  • Range wise, supported range without head voice for baritones falls somewhere within F#2/G2 and G#4/A4
  • Support is present in all registers, but maybe not to their lowest and highest extremes
  • Within in their voice type’s tessitura they are resonant and well projected, but not as resonant and well projected as Excellent vocalist
  • Connection in the voice with no noticeable breaks
  • Agility is present and pitch is controlled with good separation between individual notes
  • Great interpretation skills (Musicianship), but Musicality may not be as finely tuned as Excellent vocalist
  • Intonation is almost perfect
  • Tonality is almost never lost

Good 

  • One very well developed register or two well developed registers, with the others either being Average or Above Average
  • Able to sing through their first passaggio and second passaggi with support and resonance, and above
  • Range wise, supported range without head voice for sopranos falls somewhere within F#3/G3 and E5/F5
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within E3/F3 and D5/Eb5
  • Range wise, supported range without head voice for tenors falls somewhere within Bb2/B2/C3 and Bb4/B4
  • Range wise, supported range without head voice for baritones falls somewhere within G2/G#2 and F#4/G4
  • Optimal resonance often present, but is not always achieved
  • Within their vocal type’s tessitura they are resonant and supported, but tonality can be lost at times.
  • Connection between registers is not always present
  • Some agility, but runs and transitions are not always controlled
  • Interpretation skills are present, has show musicality
  • Good intonation rarely goes off
  • At times can lose tonality by rarely does

Proficient 

  • One well developed or two/three somewhat developed register well balanced
  • Able to sing through their first passaggio and second passaggi with support and resonance
  • Range wise, supported range without head voice for sopranos falls somewhere within G#3/A3 and D5/Eb5
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within F#3 and C5/C#5
  • Range wise, supported range without head voice for tenors falls somewhere within C3/C#3 and G#4/A4
  • Range wise, supported range without head voice for baritones falls somewhere within G#2/A2 and E4/F4
  • Consistently supported within their supported range
  • Resonates at times, but optimal resonance is not a regular occurrence
  • Connection between the registers is not present
  • Intonation is not perfect, off-key moments happen at times
  • Good tonality isn’t always kept, strain and tension are apparent at times

Above Average

  • One somewhat developed register with the others being average or weak
  • Able to sing through their first passaggio with consistent support and possible resonance up to their second passaggio
  • Range wise, supported range without head voice for sopranos falls somewhere within A3 and C5/C#5
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within G3 and B4/C5
  • Range wise, supported range without head voice for tenors falls somewhere within D3 and G4/G#4
  • Range wise, supported range without head voice for baritones falls somewhere within Bb2/B2 and Eb4/E4
  • Inconsistent with resonance
  • Even in their supported range strain and tension can be present
  • Nasality can be present within the voice at times
  • Intonation issues can be frequent

Average

  • No register is developed considerably well
  • Able to sing through their first passaggio with adequate and consistent support
  • Range wise, supported range without head voice for sopranos falls somewhere within Bb3 and Bb4/B4
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within G#3 and A4
  • Range wise, supported range without head voice for tenors falls somewhere within Eb3 and F4/F#4
  • Range wise, supported range without head voice for baritones falls somewhere within C3/C#3 and C#4/D4
  • Inconsistent with support, and if at all resonance, even if occasional resonance has happened
  • Good tonality is not present at all times, nasal placement is normally used
  • Frequent intonation issues

Weak

  • No developed registers
  • Unable to sing through their first passaggio with adequate and consistent support
  • Range wise, supported range without head voice for sopranos falls somewhere within B3 and G#4/A4 (or less)
  • Range wise, supported range without head voice for mezzo-sopranos falls somewhere within A3 and F#4 (or less)
  • Range wise, supported range without head voice for tenors falls somewhere within E3/F3 and Eb4/E4 (or less)
  • Range wise, supported range without head voice for baritones falls somewhere within C#3/D3 and B3/C4/C#4 (or less)
  • Very inconsistent with support, strain,no resonance
  • Good tonality is not present
  • Out off tune singing is frequent

FYI, Among KPOP idols there is NO ONE who is considered Excellent/Amazing/Fantastic vocal-wise (Imagine Maria Callas, Mariah Carey, Natalie Weiss and Whitney Houston as amazing/fantastic). They are Great/Good at best.

For further question you can ask the contributors directly at this forum

OneHallyu vocals’ thread

Regards,

Admin

FUTURE ANALYSES HERE

THE TEAM PAGE HERE

Advertisements

7,299 thoughts on “About & Our Criteria

  1. I’m sorry to ask again but I think I asked a question and posted it on the wrong page by mistake, so I couldn’t find it. I was wondering if you knew of any Kpop singers or non-idol singers with steely vocal timbres. Most singers I listen to in kpop usually have warm vocal timbres.

    Like

    1. Next time please check the comment sections of BTS’ V or Jungkook analyses as that is a popular question I’ve answered many times there.

      Like

    1. 4th time this video is posted here.
      She’s not a vocalist, she’s a rapper so I wouldn’t focus much on her singing. I’ve seen one of these performances, but the time stamp might not match this specific video.
      “If we’re thinking of her as a rapper, her singing isn’t bad at all. 1:01 Bb4’s, they have quite a bit of throat tension and that is not very high for a Soprano, so that already indicates an underdeveloped voice with underdeveloped technique. So skill wise, she’s not very skilled and it isn’t her fault. If she’s a rapper, her main focus isn’t singing so judging her on her singing is unfair to her. She has a nice voice, a good sense of pitch but her technique level isn’t very good due to improper and shallow support, as well as a lot of throatiness and tension.”

      Like

    1. We can’t talk about improvement without a live performance. He’s not being analyzed, period. It’s not about anytime soon, it’s just he’s not being analyzed unfortunately.

      Like

    1. Is this the first time I hear you sing? I don’t recognize your voice. Your pitch got gradually better as you kept singing but.. you have very peculiar vocal habits. You constantly sing with a creaky sound, even with airiness. You also sing with a high larynx a lot and you sound very thin throughout. Now your sense of pitch and rhythm isn’t naturally bad but there were issues throughout. I think the biggest thing for me was the kind sexy a la Lana del Rey thing you were doing within a key and range that didn’t seem to be comfortable for your voice at all. You also have a very light heady approach and you don’t seem to have a chest voice almost at all. Oh and the diction could be more precise.

      Like

    1. Don’t use air to do runs, you added an H sound when doing some runs. Don’t push your larynx down on your lower notes. I forgot you were a tenor because that F2 was just really tough for you. Your transition wasn’t bad but don’t rush and slow the tempo down too much. Keep a steady beat and pulse for yourself when singing.

      Like

    1. They both sound like head voice except Tiffanys is a bit more developed. Yoonas sounds thin and airy, the muscles aren’t strong. Neither of them are properly supported.

      Like

  2. I guess you’ve been asked about this but I can’t seem to find any answers, so… Are you familiar enough with Little Mix? Do they support properly?

    Like

      1. I see. I was curious to know, but I don’t have much knowledge and nowhere to ask but you, so sorry. I just discovered they made a song in korean, lol.

        Liked by 1 person

    1. Pierre can support G3-C#5. She has some good head voice moment but I’m not sure with consistency. The other girl who sang high notes as well can’t support C5, I think Bb4 at most? I’m not too sure.

      Like

  3. Hey, I’m the one who askes about Yoona and TIffany above. Thank you for your answer. U said “They both sound like head voice” thats mean they’re using head voice, don’t they?
    And one more question, can an untrained vocalist use head voice?

    Like

    1. A countertenor may refer to a male with an androgynous tone and a very high voice, or a male regardless of being tenor baritone or bass who can use their head voices well enough to sing female roles. Those are both descriptions that can be used in classical music but the terms are cloudy in contemporary music and we don’t feel comfortable using it for pop singers. Since this is a term unfit for pop singing, we don’t use it.

      Like

      1. Again we don’t use that term outside of a classical context, it’s too ambiguous. Contemporary vocalists don’t truly fit this voice role.

        Like

      2. bien yo siempre habia leido que era como ser un baritono o un tenor y que son muy escasos como una contralto ,he visto aun suelen hablar de ello por eso me lo preguntaba. muchas gracias enserio por resolver mis dudas

        Liked by 1 person

  4. Just a short question.

    In this video the note on 3:02 was resonant, was it? I have problems identifying: did Lee Sunhee hit that note or was it hit by Kim Yejin?

    Like

    1. I’m sorry but due to many reasons we won’t be guessing nor estimating a vocalist’s possible ratings without their analyses. So I ask that you be patient and wait until they’re analyzed, thank you.

      Like

    1. Please have asked about him before so here it is:

      “0:16 He’s using way too much air, this is the main vocalist, right? 0:28 His F4’s could be more relaxed and more opened, but I hear support. He just uses too much air. 0:47 this other guy is very shallow on his support. 0:57 F#4’s tight for this guy singing at the left end. 1:10 airy, no support at all. 1:18 too much pushing, but better connection. 1:41 ~ 1:46 Lots of shouting, lots of pushing his sound just with a high larynx, G#4 to Bb4 range. 2:38 sloppy run for the main vocalist, too much air in his falsetto. 3:14 not bad harmonies, except for the runs. 3:29 He is really shouty, but is this guy really not the main vocalist? 4:23 too much air in his falsetto overall.

      1st video: 0:02 too much throat and nasal placement. He is pushing with a bit too much tension on the F#4’s. 0:08 A4, again high larynx, too much tension. 0:30 He actually kind of sounds like Huh Gak tone wise and his technical habits seem similar. Throat tension and air pushing is what I hear.

      2nd video: 0:13 Eb3 some projection but the 0:16 C#3 is muffled. His lower range is a bit too airy. 0:30 he has enough support but he is a bit shallow, up to 0:40 he sings from C#4 ~ F4, there’s a bit too much closed tension in his throat muscles and he is too nasal in placement. Up to 0:47 he went from F4 (If) and G#4 (last). He uses far too much tension from his throat muscles and closes his throat too much. 0:53 high larynx, throat closed and nasal. 1:03 very whiny and very closed. Why is his instructor not fixing anything he’s doing? There are so many issues going on.

      (2:38)

      Third video: 2:38 He is using falsetto in this portion of the song. It lacks support and the placement is a bit whiny.”

      I’m sorry but due to many reasons we won’t be guessing nor estimating a vocalist’s possible ratings without their analyses. So I ask that you be patient and wait until they’re analyzed, thank you.

      Like

      1. So, ahmin, in this latest video did he seems to have done better..?

        considering Eunji is Competent i am actually unsure how Plan A trains their vocalists… lol

        Like

    1. Singing in choir doesn’t require proper technique or support. All it requires is pitch and the ability to blend. You don’t have to support at all as long as you can sing in tune.

      Like

  5. Hi i know this is not Kpop but is the E5 in the end of this video supported. The person in charge of a vocal page said that it was supported and resonant but i found it yell and throaty
    Btw, in the future can i post videos (both kpop and non-kpop) and ask questions like this in this page? Because i want to know how much i understand about vocal technique

    Like

    1. I’ll only reply to videos about non-K-pop vocalists if it isn’t asking for an analysis, if it’s a technical question and if it has a specific time stamp. I shall not watch full videos nor make analyses. You are right, it was throaty and strained.

      Like

  6. Are you familiar with Jonalyn Viray?? Some says she has support up to G#5. I wonder if its true. I think her supprted range is from Bb3 – C#5. Btw, Im getting hype on your new video “how to support” That’s what I need the most. Gonna check it soon. 🙂

    Like

  7. This is my recording. I know this is bad, like really bad. But I just want to know do I have any sense of support, breath support? What about my pitch, tone? Am i too nasal or airy?
    Thank you!
    Love you works and this blog!

    Like

    1. Is this the first time you send me an audio? I don’t remember hearing you singing before. No, there’s no support. There’s a lot of throat tension when you sing, a lot of pushing of air, a lot of airiness, a lot of a crackly kind of tension. You are quite nasal, but your pitch is not too bad, it’s just the underlying flatness because of the lack of development of your vocal cords. Check out the new video I posted for the vocal tips, it should be really helpful for you. ^ ^

      Like

      1. You sound that young so you’re still going through it but you don’t sound like a child, that’s not what I meant. You sounded like a teenager to me.

        Like

      2. I remember what song you sang so assuming you sang it in the original key since you deleted the recording, it was somewhere like Bb3 ~ Db4 for the lower portion and the higher chorus was Bb4 ~ Db5 in falsetto.

        Like

    1. No, you didn’t. You sang it in a higher key than the original so your lowest was E2, which wasn’t bad. You sound less nasal and there’s tongue tension for sure! I still hear a bit of your accent which affects the diction a bit and I still hear your muscles being overworked in your higher range. Good job, have you tried also watching the newest vocal tip to help you? ^ ^

      Like

      1. Hi Ahmin! I’m back with a new recording. So fast huh? This is a recording of my upper register. I think I start to develop tension in the 4th octave. I actually rehearsed for 5 times before choosing a recording. Was I throaty? Was I pushing too much?
        http://vocaroo.com/i/s0LsiEWXWN26

        Like

      2. Yes…indeed. I would say a little too fast actually. I don’t mean to be rude but please be more understanding of us knowing that we also have busy schedules and we also have our share of work to do daily, so it’d be nice if you took that into consideration before sending multiple audio clips a day. Your singing isn’t going to improve within a day. You’re not going to be a buff muscular guy after one day at the gym, the same is true for your vocal cords. The audio quality is very loud and it’s distorted. You’re pushing way too much, 0:17 E4’s, you’re just pushing with a lot of throat tension. When the chorus started you changed the key of the song, you sang E4, the original is A4 and “close” is a D5, so you would be singing A4’s but you were singing F#4’s. So you were way off key when you started the chorus. Again please watch the vocal tips videos, I made a point to tell you not to practice a song that’s way above your skill level. This is counterproductive and will make it hard for you to improve. You have to take baby steps, this is a difficult song with belting and high notes and you jumped right into it. You should start with a comfortable song in a comfortable range instead but ALSO do the exercises which are VERY important.

        Like

    1. This is definitely not the first time I’ve heard this audio before, it’s really familiar. 0:12 what exactly is this quality? If you don’t mind me asking, are you a male? Or are you going through a hormonal change? Cause I’ve heard a similar quality from a transgender girl, who has that kind of fry-like quality to her lower chest voice. It was very crackly what you did and it’s not a quality I’ve heard many times with many people. You sing mostly with pure falsetto around F4 and above, your mix is VERY light, very soft. Your singing is very soft throughout, there’s a lack of a chest voice, a lot of connection between your vocal cords, a bit too much airiness. Lack of control, especially with the runs that are fairly loose in pitch. You’d have to develop your chest voice first and connection. Try watching the newest vocal tip video I posted because there’s a need to develop support when it comes to your singing.

      Like

      1. lmao let’s go by parts.
        I am a male and as far as I know my voice changed 2 years ago (when I lost some chest and gained 2 notes higher). About that I am not sure if i got your point? Is that fry-like chest something I should be worried about? Is that wrong?
        About the falsetto i might get confused cause I separate falsetto from head voice. And as far as i knew, I did use head voice on the biggest part of the song, since it’s how the song actually is.
        So, overall, my worst weakness would be the chest voice + lack of control right? Is my mix also bad?
        P.S.: thank you for your time and tips, since this was my first time showing something for someone in a long time.

        Like

      2. It was kind off because it happened around 0:12 and it was the same exact range that you were singing in before like around B3, and I did hear a quality similar to that with a transgender girl, who used to be a guy, so it made me wonder. Now I’m not sure if you did it on purpose or not, but it was very gravely and it can be damaging if you’re rubbing the vocal cords too hard. I suppose I could call some of what you’re doing head voice, we also separate head voice and falsetto. Unfortunately there’s a lot of airiness and a shallow quality that indicates lack of support, so even when you do use a head voice, there’s no support to back it up. You didn’t mix much, you’re so light that you just switched to head voice. You need to work on support in general. Also maybe a song that’s in a more comfortable range where you can learn to mix and use your chest voice more could help. ^ ^ No problem~

        Like

      3. About the fry, i’m not sure but i assumed it was mucus. It does happen frequently, unfortunately.
        I already watched your video about support, however, I still find it hard to do the “PA”and make it airless. It still sounds like the way I used to sing, maybe It’ll get better with practice ^^
        I’ll make sure to exercise the PAs and watch some other support videos, when I feel like I did better somehow I’ll show you something (: Thanks a lot

        Liked by 1 person

  8. Ahmin its me again lol..
    I just found this guy, not kpop singer though. Is he any good ? People are calling him male version of Sohyang (and Mariah)
    This was his vocal range video

    At 2:15 is the C5 supported ?

    Like

    1. We do not answer video questions unrelated to vocalist’s we wouldn’t analyzed in the future. So you may ask questions about foreign vocalists if we’re familiar with them but not video questions. I’ll only answer one part cause you gave me a quick time stamp. No, that C5 is not supported. So if he can’t support C5, I think calling him a male Sohyang or Mariah is a very incorrect statement.

      Like

  9. Hello ^^ I am new to this blog but I really liked your analysis and I am not quite knowledgeable about vocals. Can you please give me feedback of this video? ^^
    This is not kpop related, but she is G.E.M and my favorite singer because I think she has a really strong voice and controls her vocal well. She also writes her own songs, and I think that is pretty impressive.

    This is recent live.

    Also, she’s another cantonese singer who has won many awards and I grew up listening to her songs. Her songs are good to me so I was also wondering but how you think of her singing?

    Thanks a lot! 🙂

    Like

    1. I’m so sorry. I do understand this is your first time commenting or something like that so I’ll tell you now since you didn’t know. Unfortunately since we do get a lot of questions everyday and we are quite busy with our stuff, we limit video questions to only vocalists we will analyze in the future. Since G.E.M. is not a K-Contemporary vocalist, we’re not going to analyze…so I’m afraid it’d be against our rules to answer. I do apologize wholeheartedly.

      Like

  10. Good morning, I want to ask about tongue tension.
    I don’t know much about it. Could you please give me a short lecture about tongue tension? And please provide some examples of tongue tension so I can identify it.
    I did watch your video:

    And you didn’t mention it very clearly.

    Like

  11. Hi, my question’s about Whitney. I know it’s rule violation. But I think you’re familiar enough with her to answer my question.

    Do you think her F#5 in 2:08 is supported?

    Like

  12. hi!!!
    i was wondering if u could do a quick analysis of her?? shes a thai vocalist and used to audition for kpop
    this is her performance from mask singer thailand version

    i dont know which song would be better for u to analyze

    Thanks! I like her tone! please do analyze! i think her technique is ok??

    Like

  13. Out of curiosity, I was wondering if there is a reason why Full lyrics are less common in the kpop industry…is it because they’re less common in the population overall or is a light voice favored? I was also wondering whether you know about any Full Lyrics that do not have decent technique, because from those analyzed on this blog they all seem to be Above Average or better.

    Like

  14. Hi, could you please tell me how did Hui here, he sings from 3:00 to 3:30, there is a bit of his singing between 0:00 and 0:17 too

    Could you also please do a quick review of Jinho singing here :

    And a quick review of them here too please :

    Also i’d like to ask,
    1) if you have mucus in your lungs, like a lot of mucus, can it narrow your vocal range? like can it prevent you from singing chest voicenote/low note well? Can it prevent you from singing lower?
    2)In singing what is the contrary of light voice? dark? husky?
    4) How to not sing with a light voice? going chesty? can we still sound light even if we try to be more chesty?
    5) If you have acid reflux how much can it affect your singing?
    Merci!

    Like

    1. Hi there, I’ll answer because the first two are short but these are a few videos so next time please don’t post so much at once.

      1st video: Up until 0:17 the highest was D4, he sounded really relaxed and his tone reminded me a lot of Baekhyun’s. 3:07 G4’s 3:11 G4 again 3:17 G4 3:21 G4 3:23 G4 3:30 He has a very nice tone but the way he approaches the notes as he gets higher, so especially all the G4’s he keeps hitting in this specific song, he keeps using his throat muscles and closing the sound by using more of a thick heavy stretch of the vocal cords. He is pulling the sound from his throat and chest and especially 3:17 and 3:21, the closed Eu and Ee vowels but SPECIALLY the Aye vowel, he kept his throat too closed and strained his voice too much. Even the 3:30 G4 the one on the Ah vowel was too thick and pushed from the throat.

      2nd video: This is not as short as I thought. If you have any specific questions about other parts of the song, please tell me but I’ll skim through it. The lowest note in the verse is D3 which sounds okay for him, a bit too soft. 0:43 F#4 there’s support but his throat could be more opened and his vowel shaping better. 0:57 G4 closed vowel. 1:01 G4’s other closed throaty notes but maybe it might have something to do with his condition. 1:04 supported but a bit too compressed in the throat for the F#4. 1:22 A4 pushed. This is as I had thought already before for both Hui and Jinho, they may be fine up to F4/F#4 but G4’s can become problematic, although I’ve heard some inconsistent moments of support for Jinho above F#4.

      3rd video: 0:16 tongue tension closing his throat, a bit too much air. He sometimes sounds like D.O., I believe. It’s more of a vocal habit thing than tone. Their harmonies were nice. 0:59 G4 not as throaty as before, his G4’s in this are a lot brighter and less throaty, but still kind of pushed. 1:31 I hear his tongue going back ever so slightly, but it changes his tone production a bit. 1:46 really nice soft mixing up to F#4. 2:10 F#2 A2 C#3 all airy, none with support but hey I never thought I’d hear him singing this low. 2:18 he used a bit more vocal fry. 2:21 D3’s have support for him, nice for Jinho. 2:31 G#4’s 2:35 A#4’s and G#4’s definitely have tension for Hui, too much of a high larynx and a closed throat. 3:14 F#4 could’ve been more opened for Jinho. 3:20 Jinho’s head voice lacks support. 3:29 too much throat tension. 3:34 F#5 so he used 3 octaves in one single song. Too much air, throat tension by closing his throat.

      1) I don’t think it narrows your range permanently but it can affect you for sometime, mucus in your vocal cords definitely gets in the way of singing. It usually affects the range where the mucus is sitting on in your vocal cords.
      2) Light =/= heavy, dark =/= bright
      3) There’s no number 3 so I’ll make 4 number 3 lol If you try to be chesty, you’ll most likely sound thicker and less light/bright but you can still be somewhat chestier and remain somewhat bright, but it’s hard to be chesty and light since the chest voice is naturally thick.
      4) It can definitely affect your singing, it can burn down the vocal cords and tire you out vocally a lot. A lot of people have issues due to acid reflux.

      Like

  15. Hey ahmin,
    Could you talk about singer’s formant?
    Is it related to the placement?(heady placement become treble)
    I have used a website to test my voice. And I try to sing high without support. I saw my high note (around E5) have a lot of harmonic in 2000-4000Hz. Is it similar to singer’s formant?
    And I am confused about head/mask placement. You say head placement to be treble(is it look like singer’s formant?)
    and what is the meaning of mask placement close to the mouth?
    For pop-music singers, they high note placed in mask/head is better?

    Like

    1. I’m afraid formant is a bit more related to classical singing, which involves lowering the larynx to have more openness in the throat which allows more space for the voice to resonate and be heard over an orchestra. But I’m not too familiar with the concept of formant, so I can’t really answer your question since it’s not very contemporary as far as I’m aware. Mask placement close to the mouth means not pulled from the chest nor close to the temples in the head, but placed closer to your lips. Yes for pop singers, mask placement is ideal.

      Like

  16. Hi ahmin!
    She is one of my classmate and she do covers and also she’s a vocal coach as her part time.If its not too much to ask can say something about her singing like is she strainig or what note she hit.

    Shes the one playing the guitar. Tnx.

    Like

    1. Please don’t ask questions unrelated to Kpop vocalists again. She has decent pitch, sometimes she goes flat. She uses a bit too much air pressure, so her transitions into head voice sometimes are a bit airy and either slightly flat or slightly sharp. I hear a bit of tongue tension in the chorus and even though her mixing is bright, it lacks openness on those C#5s, I don’t hear resonance and I wouldn’t call those mixed notes supported. But I don’t particularly like commenting on a non-professional Kpop vocalist if she’s not the one asking me the question so if you don’t mind me asking, why are you asking about her? I would feel more comfortable if she asked me herself.

      Like

    1. Well she is kind of using a very twangy placement and kind of separating each note in an exaggerated manner but I don’t necessarily a crack? I would rather hear you sing to hear what’s going on.

      Like

    1. I’ll copy paste cause this question has been answered:

      “2nd video: This is not as short as I thought. If you have any specific questions about other parts of the song, please tell me but I’ll skim through it. The lowest note in the verse is D3 which sounds okay for him, a bit too soft. 0:43 F#4 there’s support but his throat could be more opened and his vowel shaping better. 0:57 G4 closed vowel. 1:01 G4’s other closed throaty notes but maybe it might have something to do with his condition. 1:04 supported but a bit too compressed in the throat for the F#4. 1:22 A4 pushed. This is as I had thought already before for both Hui and Jinho, they may be fine up to F4/F#4 but G4’s can become problematic, although I’ve heard some inconsistent moments of support for Jinho above F#4.”

      Like

  17. Hello, many people say that Mariah Carey uses falsetto instead of head voice.But I think Mariah Carey can used head voice also. How do u think?
    P/s: Sorry for an irrelevant question

    Like

  18. Hi Ahmin ! What do you think about Yeo One’s vocal performance ? What were the best and worst parts and can you give justification?
    In addition, what might be his vocal type ? He has a bright, masculine voice but his timbre speaks Tenor-ish to me, still, if someone like Key is a Baritone, then Yeo One might be one too (his speaking voice is way lighter than Key’s though)

    Like

    1. This isn’t the first time someone asks about him and this performance so I’ll copy paste:
      “His B2’s have a lot of tone, the way he goes up to B3 like at 0:16 leads me to believe he’s a baritone, he is mixing too early and his voice seems to be placed lower. He sings with very weak breath support, but his pitch is adequate and he is relaxed enough until he goes higher. 0:33 D#4’s and E4’s and even F#4, all in is throat, all very shallow and just pushed through. 1:04 B3 and C#4, he can’t really support in his mix at all, he loses the relaxed approach and he goes in his throat above C#4 1:12 E4 1:19 again. 1:29 his transitions into falsetto aren’t bad. He’s got a nice tone though.”

      Like

  19. Hi, I have a question about Romeo’s two main vocalists Yunsung and Kyle.
    This one is Yunsung, and i’m not sure what to think I think he went flat a few times, and his falsetto is pretty strained /tight but idk whether he supports or not.
    This one is Kyle i’m pretty sure he doesn’t support but still worth asking I guess.. Thank you

    Like

      1. Yunsung’s falsetto transitions aren’t very smooth. He is very airy and he is singing this song very softly the whole time, oh..I heard him go flat 2:43 2:50 onward he sounds pretty shallow and he’s using his throat muscles too much. He is going flat more often and his breaths are very shallow. 3:17 very shallow E4 ~ G#4 range. Mhmm yeah.

        Awww Kyle is adorable. They both look like little munchkins. Kyle is a bit flat too here and there, he is a bit nasal. His pitch is mostly okay, he does sound pretty shallow. He has a pretty voice, the dynamics he is using are less based on airiness than Yunsung. It was kind of better overall.

        Like

  20. Hi!

    I recently watched your Vocal Tip video on support and what it is and how to support. So what I’m getting is that support is when there’s no tension from your body and your vocal cords are doing all the work while your diaphragm is expanded. My question is what do you guys mean when you say that the support is weak or that there is some support? Your video was very educational by the way. In fact, all your videos are educational. I really enjoy all of them! 🙂

    Like

    1. When we say the support is weak is when the person takes shallow breaths, the diaphragm doesn’t expand enough, the vocal cords aren’t fully connected and the tension in the body overrides the actual support. I am thankful for your kind words! ^ ^

      Like

  21. Hi! I don’t know if you guys watch Kpop Star 6 but I want to ask about this perf of ‘You’ by 마은진. https://m.youtube.com/watch?v=ewGygwTgfh8
    IIRC the highest mixed note is Eb5 right around the key change and the highest note is an E5 at the run at the end, which I believe is falsetto. I really dig her voice, she has a slight throaty/husky quality to it. I’m mostly wondering about her technique in her mix and her runs; she sounds rather comfortable in this range. Thanks!

    Like

    1. You find her voice to be husky? Well when you say slight throaty, you already should know that’s a very good sign. 0:41 that’s just A4 and it already lacks openness. Her throat shaping is really limiting, it keeps her swallowing muscles always slightly engaged, with a bit too much airiness being pushed and so she sounds shallow in her mix. Her runs aren’t all that bad, her falsetto is your usual very thin airy falsetto. 1:29 C#5 1:37 B4 there’s absolutely no power to her voice, she sounds thin, soft and like she wants to be powerful but there’s too much airiness and her throat isn’t opened enough so she can’t produce resonance. What E5? I didn’t hear an E5, I heard Eb5 at the end and I didn’t notice a mixed Eb5 either. So she’s not a very impressive vocalist, at least not when it comes to technique. Stylistically and dynamically, the song barely grew in volume. It was kind of the same throughout.

      Like

    1. Hi there dear. See the recording doesn’t allow me to go back on the file time stamps, but in general I hear a very strong accent that comes from you singing in English. You have this underlying tongue tension throughout of you trying to emulate an english speaking accent. It’s strong throughout, the tongue sounds tight. There’s still a lot of tension, a lot of airiness and not enough stretch and connection from your vocal cords. You need to open and work on your vowels so that you can improve your singing and become more relaxed. Right now there’s too much throat tension throughout, the pitch in itself isn’t bad but there’s just so much tension that blocks your sound.

      Like

      1. Thanks a lot. But about the note, how do you think about the G4 in the first link (1:33, the latter half) and the F4 in All Of Me? I try to sound as less nasal as possible but then my pronunciation seems less clear.
        And I’m not sure about my voice type, because some say I’m a tenor but I can sing more comfortable in baritone’s range. Thank you.

        Like

      2. It’s what I said, sung with a lot of tension. The G4 was pushed and so was the F4, both of them were strained. I’m not sure what your voice type is 100% either.

        Like

    1. I’ve seen this video before a long time ago, I found my response to it but the link was different cause the video has been since deleted.

      “It’s hard for me, let me look up their names lol 0:37 flat upper harmony… Nayeon has weak shallow support so her tone sounds airy and it lacks roundness, Mina’s voice is soft and it lacks projection as well as forward placement, she’s a bit more in her throat. Jihyo starts singing, right away, she has better support, better placement and just projects and actually supports her voice. Much stronger vocalist than the other two. The chestiness helps her in the upper third octave, her runs are a bit slow but her mix up to A4 is nice. Jihyo seems to be looked down upon a lot by fans, I don’t see why. Sure she’s not one of the top 10 vocalists in K-pop right now, but she’s not as bad as Miss A at all. She can actually support, she sometimes reminds me of YeEun.”

      Like

  22. I remember that you say whistle doesn’t damage the vocal cords, so how about falsetto? Is it damaging? It’s a disconnected register and airy like whistle.
    P/s: I know some people claim that Mariah Carey loses her voice because of overdoing falsetto.

    Like

    1. The whistle register is fundamentally different than falsetto. They are produced differently. Falsetto is produced by an excess of air being passed through the vocal folds and the vocal folds not coming together properly which leads to the irritation. The airy essentially dries out the vocal folds and can potentially irritate them.

      Like

      1. Thannk you, pandayeu. Can you explain a little bit about how we produce whistle. I think both falsetto and whistle is procuded by an excess of air being passed through the vocal folds, because both are airy.

        Like

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s